Cymbals have always been constructed of a single piece of metal. Thin, relatively flat or “sheet” instruments such as thundersheets were never welded or constructed using molten or plasticized metal after reduction—they were always plain sheet metal or flat rolled metal.
Furthermore, cymbals have always utilized metal which is first cast of molten metal which is then cooled, then reduced into a thinner section through cold or hot hammering or rolling. A thinner section is defined here as metal which is under 3/16 (0.187) inch thick.
During the rolling or hammering and subsequent shaping and thinning, the metal was often heated to increase ductility but further use of molten metal has never been anticipated.
To create a change in thickness—often a tapering reduction from a thick center to a thin edge, cymbals were typically lathed, hot rolled, cold rolled or hammered.
A method of adding or thickening material has not been anticipated or taught by prior art. When holes were created in prior art, they were created by material removal methods which leave a substantial scrap piece, and any evidence of a thicker section at the edge of the cut was obliterated by a deburring process.
Cymbals were welded at the center node only as a mounting system for a single cymbal to a stand or holding device. Two or more cymbals have never been welded together to form a compound instrument.
The overall sound of a percussion instrument such as a cymbal or thin, sheet-like instrument consists of a multiplicity of sounds—each of differing frequency. These partial tones which combine to make the overall sound are called overtones.
Cymbal makers have always sought out new ways of adding and altering the structure, and rise and fall in amplitude of overtones.
Sales of various types of cymbals and percussion instruments prove that while there may be established sounds which aid in the sales of these products, there is no absolute standard of sound quality—any significant alteration of the overtone structure (especially ways to add overtones) seems to create added value in the marketplace.
The following definitions are helpful in understanding the invention described below:
Bells and Cymbals
The main difference (in definition) between a bell and a cymbal within the context of this invention is the gauge or thickness of the sections utilized. When thicker metal is utilized for said instrument, the overtone structure and attack resemble that of a bell. Accordingly, a bell as used hereinafter is considered to be synonymous with a percussion instrument similar to a cymbal in concept, except made with a thicker gauge material. When thinner more flexible metal sections are used, the added flexibility can result in the formation of the complex overtone structures of cymbals. The ratio of thickness to diameter or surface area is important in the distinction between bell versus cymbal sounds. For example, if sections are 0.040 inches thick with a diameter of 5 inches, the resulting sound will, (due to relative stiffness), resemble that of a small bell. If however the same 0.040 thickness were used to make a 20 inch diameter instrument, the resulting sound would resemble, (due to flexibility and the complex swell and overtone structure), the sound of a cymbal. The radius of the “bow” also affects a bell versus cymbal sound. A deep or smaller radius bow can sound more like a bell where a larger or shallow radius can result in a more cymbal-like sound.
The terms defined will be used here interchangeably with regard to both cymbal and bell embodiments.    SHEET INSTRUMENT: A thin section of metal between about 0.010 inches and 0.100 inches thick, which is configured to form a resultant generally planar thin sectioned metal sheet shaped or sheet styled instrument. The sections can be cast and rolled individually to a desired thickness, or cut from larger sheets, coils, or strips which have been precast and rolled to thickness.    HYBRID INSTRUMENT: An instrument which, due to specific forming techniques, shapes, and materials, is configured and supported in such a way as to produce sounds similar to both cymbals or bells and gongs.    HYBRID CYMBAL/BELL INSTRUMENT: A compound percussion instrument in which a cymbal and bell are joined together by welding in a manner, which results in an instrument which is capable of producing both bell and cymbal sounds.    CUP: A term in cymbal vernacular to describe the raised or sunken dome or bell-shaped area in the center of a cymbal. Within the context of this invention, the term cup may also be used to describe a member which is welded onto the main body of a compound instrument such as a bell, bell-cymbal hybrid or cymbal which functions in a manner similar to that of a formed cup found in a conventional cymbal.    BOW or PROFILE: A term in cymbal vernacular to describe the main curve or overall dome radius of a cymbal, excluding the radius and shape of the center cup.    TAPER: A term in cymbal vernacular whereby the cymbal has a progressively thinner cross section proceeding from the thickest area in the center toward the thinnest cross section at outer edge of the cymbal.    OVERTONES: Overtones can be heard as simpler or individual tones or frequencies which when combined make up the whole of a musical sound. The sum of simple sounds such as sine waves, rising and falling in amplitude and frequency can produce a complex sound. In cymbals and bells there is a complex matrix of overtones comprising the whole.    SWELL: A term in music and in describing cymbal, bell, and gong sound whereby sound grows in time from low to high amplitude. In cymbals, gongs and bells, a rise in the frequency and complexity or number of overtones accompanies the rise in amplitude.    ATTACK: The sound heard immediate after the striking of a percussion instrument. The attack is also defined as amount of time it takes for the sound of a percussion instruments to reach full volume or amplitude after a single strike. An instrument with a large amount of swell (such as a large gong struck with a soft mallet) would have a slow attack. An instrument such as a bell struck with a metal clapper, a thick cymbal struck with a drumstick, or a triangle would have a fast attack.